In brown rooms the relieving color may be greens or green-blues, according to the tone of brown selected.

A warm shade of blue is far better for being well inclined towards purple, such as a mulberry shade. This is much darker and warmer than the French greys, once so popular. But in mulberry schemes it is better to have the walls in a contrasting tint, and the mulberry shade used for purposes of contrast. Fawn color or light tan walls look well in such a scheme.

Pink walls require the use of green as a contrasting color. Pink is also the better when set off with a liberal use of grey.

In addition to the above, there are a large number of excellent schemes, based upon grey. The name grey may be applied to a

T

large number of neutral tones. Most are classed as warm or cool greys, but, as a matter of fact, almost every tint which is not inclined to yellow or brown may be called grey. There are green-greys, bluegreys or warm greys, all of which incline to a secondary or primary color. In such cases the contrasting tone will be supplied by the primary or secondary which, under ordinary conditions, would be used if the main color were plainly based on a primary, secondary or a tertiary.

In any of the above schemes, ceilings may be white, ivory or cream, or be tinted with a touch of the prevailing wall color.

Woodwork may be white, ivory, cool browns, tones of grey or shades to contrast or harmonize with the prevailing color schemes.-Australian Decorator.

HE progressive merchant realizes the advertising value of a well-dressed shop window, and considerable individuality and genius are displayed in arranging window exhibits that will command the attention of the passer-by, says a writer in the Carter Times (Chicago).

Less consideration is given to the outside of the front, although in many cases the beauty of a good window display is marred by a poorly-painted, dingy and dirty exterior. The same talent that is displayed in making interiors beautiful could with profit be empolyed in making the exteriors distinctive, pleasing, and in harmony with the interior finish.

Although the show windows occupy most of a shop front, there is still sufficient sash and door space left to carry out a pleasing, cheerful color scheme.

A well-painted shopfront should be distinctive without being conspicuous; striking, but not glaring. A merchant had his shopfront painted a bright red and striped with chrome yellow. Ordinarily, this combination would be loud and conspicuous, but so skillfully had the painter applied the bright yellow trimming color that the job was attractive without being glaring.

Some years ago gold-leaf striping was more common than it is now, and it added much to the attractiveness of a well-painted front; but in those days shopfronts were painted with the same care and in very much the same way as in present-day automobile painting.

Even a plain black or dark green job was a matter of pride and care with the painter who would carefully prepare the surface and apply one or two coats of white-lead for a surfacer, sandpaper to a smooth finish, and use colors ground in japan for the body work. This made a flat, even surface, which was sometimes striped with gold, at

others left plain, and two coats of good spar varnish completed the job. Sometimes the colors were ground and mixed in varnish, in which case the final varnish coats were unnecessary.

Many shopfronts are now painted one coat with lamp-black or green thinned with coach japan or varnish. Of course, it soon loses its gloss, and in a short time looks rusty and shabby, and the painter is called in again to give it another coat of paint. After this process has been repeated a few times, there is a large amount of paint on the surface, one coat of glossy paint on another, and the sun will do its part in making the job look cheap by drawing the paint up in blisters. These the painter usually scrapes off and repaints, giving the surface a "pock-marked" appearance.

Another and prolific cause of blisering is in the water which runs down the glass, softening and washing out the putty in the bottom rebate, and soaking into the wooden sash. The sun draws it to the sur. face, where it forms more blisters.

To paint a shopfront properly, all the old paint should be removed. A gasoline torch and scraper can be used on the large surfaces, but it is dangerous to use too near plate-glass. In these places a good paint remover will do the work, or they can be scraped off with a carpenter's steel woodscraper. The surface should then be sandpapered to a smooth finish and primed with a white-lead paint, thinning the lead with 60 per cent linseed oil and 40 per cent turpentine.

Next, make a putty by thickening paste white-lead with bolted whiting to putty con sistency. All holes, cracks, open mitres and rough spots should be carefully filled. Scrape the old, loose putty from around the edge of the glass and fill in smoothly with the lead putty. When this is dry the sur

face should again be sandpapered smooth and a second coat of white-lead paint applied, mixed to dry flat or with an eggshell gloss. This will prepare the surface for the finishing coats.

If the old paint is in good condition and there is not too much of it on the surface, it could probably be refinished by simply removing the gloss instead of removing the whole paint film. This can be done by sandpapering or by washing the paint with a rather strong solution of sal-soda.

Finishing Coats

The finishing coats in painting shopfronts should be the very light or very dark colors. The intermediate colors are not distinctive for this class of work. Light colors are sometimes used by large business organizations who have chains of retail stores and have certain color schemes which are carried out on all their trucks, stationery, decorations and shopfronts. Thus, the fronts in a chain of nationally-known tea stores are always painted a deep red, while a grocery company paints its stores a rather bright yellow; and these distinctive colors are of considerable advertising value in making their shops known to the buying public.

White can sometimes be used to advantage, and a white front will make a shop stand out from its darker-colored neighbors and attract attention also to the window display. If the white is striped with gold or touched up lightly with scarlet, it will be even more attractive.

White fronts are used largely on banks and restaurants, and can be made more effective by using a good grade of white enamel for the final coat.

Some very good-looking shopfronts are those grained in mahogany, walnut, cherry, dark oak, or any of the darker woods, and they frequently harmonize better with the interior of the windows than a painted front. The finishing coats on this work should be a high-grade spar varnish.

The most attractive colors used for this work are deep olive green, bottle green, peacock blue or any very dark blue, rich browns, bronze, green or deep reds. Any of these colors can be striped or high-lighted with gold or aluminum leaf, or with some complementary color. Among the light colors are white, cream, light tan and buff. These can also be striped with gold or gold bronze if desired.

HUGE TEXTILE PROFITS.

New York, Dec. 30.-It is most significant that the strike of eastern textile workers aaginst wage reductions is almost simultaneous with stock dividend declarations by concerns in this industry. These stock dividends fairly indicate the profits in textiles and woolens.

A new high water mark in these increases was set by the Davis & Brown woolen com

A WALLPAPER CREED.

I Believe in Wallpaper.

The following sentiments, formulated into a wallpaper creed, were included in an address given before a convention by one of the trade members:

I believe in wallpaper, and its decorative value as a wall covering for homes, hotels, schools, theatres, hospitals, and all places where men work and think, where women live and love, and where children play and grow.

I believe in wallpaper, for its sentimental value and home-giving qualities, its ability to give to the home an atmosphere of comfort to the owners, welcome to the visitor, enjoyment to the strong, and buoyancy to the weak.

I believe in wallpaper, for its cosmopolitan character in adorning the rich man's palace and the poor man's cottage.

I believe in wallpaper, for its educational value in conveying to us the message of the manner of living during the periods of the past, of both potentates and pioneers.

I believe in wallpaper, for its art value, which includes both practical and theoretical features. I believe in keeping it up to a high standard in design, color and texture, and making it a distinct contribution to the art of the country.

I believe in wallpaper, for its furnishing power (a room well papered is half furnished). It forms the correct setting for all the other furnishings, and emphasizes the beauty of the architectural lines, while it softens otherwise undue structural hardness.

I believe in wallpaper, for its versatility, its accommodation of moods, its utility, its beauty, and its accessibility for universal

use.

I believe in wallpaper, for its commercial value and that its manufacture is a distinct benefit to mankind and a material aid to his well-being. I further believe that its skillful application to the wall surface of a building greatly enhances the property value and is a distinct aid in selling or renting.

I believe in wallpaper, and in a stronger cohesion between the producer and distributor in their appeal to the consumer, and in a concerted effort to give to it its rightful place in the realms of commerce and art.

I believe in wallpaper, and in a positive declaration of its potential qualities.

Devoted to the Interests of

House, Sign, Pictorial, Coach, Car, Carriage, Machinery, Ship and Railroad Equipment Painters, Decorators, Paperhangers, Varnishers, Enamelers, Gilders, Glaziers, Art Glass Workers, Bevelers, Cutters and other workers in glass used for architectural and decorative purposes and the Trades Union Movement in General.

Statement of Ownership and Management (Required by the Act of August 24, 1912) The Painter and Decorator is published monthly at LaFayette, Ind., by the Brotherhood of Painters, Decorators and Paperhangers of America. Its editor, managing editor and business manager is Chas. J. Lammert. Its owners are the members of the Brotherhood of Painters, Decorators and Paperhangers of America, and no individual, firm or corporation owns 1 per cent or more of its stock; neither has it any bonded or other indebtedness. CHAS. J. LAMMERT, G. S.-T. Sworn to and subscribed before me, this 23rd day of October, 1922. (Seal)

Sam S. Savage, Notary Public. (My commission expires January 9, 1926.)

ADVERTISING Correspondence relating to advertising should be addressed to A. S. Murphy, Advertising Representative, Colonial Trust Building, Philadelphia, Pa.

The publisher reserves the right to reject or cancel advertising contracts at any time.

The Painter and Decorator, published at LaFayette, Ind., is the official Journal of the Brotherhood of Painters, Decorators and Paperhangers of America and the only publication issued under the auspices of that organization.

The A. S. Murphy Co. is the only agency or person authorized to solicit advertising for the official journal of the Brotherhood. Local Unions and District Councils publishing programs, semi-annuals, annuals, or souvenir publications of any description should refrain from designating them as "Official Journal of the Brotherhood," either upon the publication itself or on their advertising contract forms or stationery.

Matter for publication in The Painter and Decorator must be in this office by the 14th of the month previous to the month of issue.

Correspondents will please write on one side of the paper only. We are not responsible for views expressed by correspondents. Address all mail matter to CHAS. J. LAMMERT, Editor, Room 401, Painters and Decorators Bldg., LaFayette, Ind.

Entered as second-class matter July 14th, 1905, at the post office at LaFayette, Ind., under the act of Congress of March 3, 1879.

Accepted for mailing at special rate of postage provided for in Section 1103, act of October 3, 1917, authorized August 2nd, 1918.

Labor and reform papers are respectfully requested to exchange with The Painter and Deco

GEO. F. HEDRICK, General President, Room 201, Painters and Decorators Bldg., LaFayette, Ind. CHAS. J. LAMMERT, Gen. Sec'y-Treas., Room 401, Painters and Decorators Bldg., LaFayette, Ind. JOHN M. FINAN, 1st Gen. Vice-President,

549 Fullerton Parkway, Chicago, Ill. JOSEPH F. KELLEY, 2nd Gen. Vice-President, 1617 South 55th St., Philadelphia, Pa. CHAS. A. CULLEN, 3rd Gen. Vice-President,

509 Grafton St., Worcester, Mass. JOS. F. CLARKE, 4th Gen. Vice-President,

1804 S. 11th St., Tacoma, Wash. CLARENCE E. SWICK, 5th Gen. Vice-President, P. O. Box 304, Memphis, Tenn. JOS. P. HUNTER, 6th Gen. Vice-President, P. O. Box 183, Niagara Falls, Ont., Canada.

Editorial

Ring Out the Old and False;
Ring in the New and True

Labor enters the new year with, perhaps, a brighter future than confronted it with the birth of Infant 1922. Several very unpleasant chapters in the history of American working men have been definitely closed. The open shop and wage cutting campaigns have succumbed to their established infirmities. They could not penetrate the stalwart defense of aggressive labor union action and ultimately retreated in panic before the three great strikes of the past summer. The textile workers, the miners and the railroad shopmen have been the shock troops of American labor. They bore the brunt of the desperate attack and by unrelenting determination turned the increasing battle against unionism from partial victory to ultimate and decisive defeat.

So with the advent of the New Year we find economic conditions ripe for an aggres sive advance by organized labor. For the past several years the employing interests have taken every possible and conceivable advantage of economic conditions not only to batter down the workers' standard of living, but to disrupt their organizations as well. The workers have been intimidated by the bugaboo of unemployment. They have suffered unbelievable reductions in wages because of sweet, sentimental talk on the mythical decline in the cost of living. The New Year starts auspiciously with these conditions at an end. These very economic forces which the employers used against labor have returned with all the certainty of a boomerang to be used by labor against the employers. Labor once again is given the opportunity to regain lost ground and to advance to new positions on the front of human betterment. Men are no longer hunting jobs. Jobs are hunting men. And the cost of living, too, is unmistakably upward. That is admitted, thus inducing obdurate employers to other and less tangible channels of argument.

Labor starts the New Year, free of many nasty handicaps, and, confident of its power, it stands today on the pathway of substantial advancement and vastly greater achievement.